Casting Miley Cyrus, that charmless Disney lab rat, in Lisa Azuelos’s remake of her own hit French text-generation comedy adds an inadvertent note of poignancy to an otherwise wholly synthetic enterprise: watching her attempt to feign regular-teenager feelings is akin to watching Pinocchio’s shaky first steps with no-longer-wooden legs. Cyrus plays Lola (‘My friends call me Lol,’ she assures us wistfully, though no one actually does), a Chicago high-schooler only just beginning to acquaint herself with the adult joys of sex, pot and Brazilian waxing. Lola’s romantic ditherings between interchangeable Abercrombie & Fitch model types, the most serious of whom is – OMG! – also her best friend, take up the bulk of the screen time, but the real story here is her terrifying Electra-lite relationship with her supposedly loving single mum, Anne (Demi Moore). Sleeping with her ex, while dating hunky narcotics cop Jay Hernandez, Anne is having some boy trouble of her own – and takes it out on Lola with snippy admonishments for stretching out her cashmere jumpers. ‘Me and Mom aren’t so different,’ Lola concludes sagely – though one look at Moore’s face, so eerily unwithered as to make Cyrus look positively matronly by comparison, suggests this is wishful thinking.